[He drops his arms, the bundles fall down. He then sinks down onto one of them and wipes off the perspiration, moving his hand wearily over his face. TheTragedianand the"Old Man"approach the post and read the signs.
[He drops his arms, the bundles fall down. He then sinks down onto one of them and wipes off the perspiration, moving his hand wearily over his face. TheTragedianand the"Old Man"approach the post and read the signs.
TRAGEDIAN. [In a deep, dramatic voice.] It's hopeless! It's hopeless!
[He lets go his end of the trunk.
"Old Man." [Lets go his end of the trunk.] Mm. Another stop.
[Tragediansits himself down on the trunk in a tragico-heroic pose, knees wide apart, right elbow on right knee, left hand on left leg, head slightly bent toward the right.Comedianputs down the valises and rolls a cigarette. The "Old Man"also sits down upon the trunk, head sunk upon his breast.
[Tragediansits himself down on the trunk in a tragico-heroic pose, knees wide apart, right elbow on right knee, left hand on left leg, head slightly bent toward the right.Comedianputs down the valises and rolls a cigarette. The "Old Man"also sits down upon the trunk, head sunk upon his breast.
VILLAIN. Thirty miles to the nearest town! Thirty miles!
COMEDIAN. It's an outrage how far people move their towns away from us.
VILLAIN. We won't strike a town until the day after to-morrow.
COMEDIAN. Hurrah! That's luck for you! There's yet a day-after-to-morrow for us.
VILLAIN. And the old women are still far behind us. Crawling!
"Old Man." They want the vote and they can't even walk.
COMEDIAN. We won't give them votes, that's settled. Down with votes for women!
VILLAIN. It seems the devil himself can't take you! Neither your tongue nor your feet ever get tired. You get on my nerves. Sit down and shut up for a moment.
COMEDIAN.Me?Ha—ha! I'm going back there to the lady of my heart. I'll meet her and fetch her hither in my arms.
[He spits on his hands, turns up his sleeves, and strides rapidly off toward the left.
[He spits on his hands, turns up his sleeves, and strides rapidly off toward the left.
VILLAIN. Clown!
"Old Man." How can he laugh and play his pranks even now? We haven't a cent to our souls, our supply of food is running low and our shoes are dilapidated.
TRAGEDIAN. [With an outburst.] Stop it! No reckoning! The number of our sins is great and the tale of our misfortunes is even greater. Holy Father! Our flasks are empty; I'd give what is left of our soles [displaying his ragged shoes] for just a smell of whiskey.
[From the left is heard the laughter of a woman. Enter theComediancarrying in his arms theHeroine,who has her hands around his neck and holds a satchel in both hands behind his back.
[From the left is heard the laughter of a woman. Enter theComediancarrying in his arms theHeroine,who has her hands around his neck and holds a satchel in both hands behind his back.
COMEDIAN. [Letting his burden down upon the grass.] Sit down, my love, and rest up. We go no further to-day. Your feet, your tender little feet must ache you. How unhappy that makes me! At the first opportunity I shall buy you an automobile.
HEROINE. And in the meantime you may carry me oftener.
COMEDIAN. The beast of burden hears and obeys.
[Enter theIngenueand the"Old Woman,"each carrying a small satchel.
[Enter theIngenueand the"Old Woman,"each carrying a small satchel.
INGENUE. [Weary and pouting.] Ah! No one carriedme.
[She sits on the grass to the right of theHeroine.
[She sits on the grass to the right of theHeroine.
VILLAIN. We have only one ass with us.
[Comedianstretches himself out at the feet of theHeroineand emits the bray of a donkey. "Old Woman"sits down on the grass to the left of theHeroine.
[Comedianstretches himself out at the feet of theHeroineand emits the bray of a donkey. "Old Woman"sits down on the grass to the left of theHeroine.
"Old Woman." And are we to pass the night here?
"Old Man." No, we shall stop at "Hotel Neverwas."
COMEDIAN. Don't you like our night's lodgings? [Turning over toward the"Old Woman."] See, the bed is broad and wide, and certainly without vermin. Just feel the high grass. Such a soft bed you never slept in. And you shall have a cover embroidered with the moon and stars, a cover such as no royal bride ever possessed.
"Old Woman." You're laughing, and I feel like crying.
COMEDIAN. Crying? You should be ashamed of the sun which favors you with its setting splendor. Look, and be inspired!
VILLAIN. Yes, look and expire.
COMEDIAN. Look, and shout with ecstasy!
"Old Man." Look, and burst!
[Ingenuestarts sobbing.Tragedianlaughs heavily.
[Ingenuestarts sobbing.Tragedianlaughs heavily.
COMEDIAN. [Turning over to theIngenue.] What! You are crying? Aren't you ashamed of yourself?
INGENUE. I'm sad.
"Old Woman." [Sniffling.] I can't stand it any longer.
HEROINE. Stop it! Or I'll start bawling, too.
[Comediansprings to his knees and looks quickly from one woman to the other.
[Comediansprings to his knees and looks quickly from one woman to the other.
VILLAIN. Ha—ha! Cheer them up, clown!
COMEDIAN. [Jumps up abruptly without the aid of his hands.] Ladies and gentlemen, I have it! [In a measured and singing voice.] Ladies and gentlemen, I have it!
HEROINE. What have you?
COMEDIAN. Cheerfulness.
VILLAIN. Go bury yourself, clown.
TRAGEDIAN. [As before.] Ho-ho-ho!
"Old Man." P-o-o-h!
[The women weep all the louder.
[The women weep all the louder.
COMEDIAN. I have—a bottle of whiskey!
[General commotion. The women stop crying and look up to theComedianin amazement; theTragedianstraightens himself out and casts a surprised look at theComedian; the "Old Man,"rubbing his hands, jumps to his feet; theVillainlooks suspiciously at theComedian.
[General commotion. The women stop crying and look up to theComedianin amazement; theTragedianstraightens himself out and casts a surprised look at theComedian; the "Old Man,"rubbing his hands, jumps to his feet; theVillainlooks suspiciously at theComedian.
TRAGEDIAN. A bottle of whiskey?
"Old Man." He-he-he—A bottle of whiskey.
VILLAIN. Hum—whiskey.
COMEDIAN. You bet! A bottle of whiskey, hidden and preserved for such moments as this, a moment of masculine depression and feminine tears.
[Taking the flask from his hip pocket. The expression on the faces of all changes from hope to disappointment.
[Taking the flask from his hip pocket. The expression on the faces of all changes from hope to disappointment.
VILLAIN. You call that a bottle. I call it a flask.
TRAGEDIAN. [Explosively.] A thimble!
"Old Man." A dropper!
"Old Woman." For seven of us! Oh!
COMEDIAN. [Letting the flash sparkle in the sun.] But it's whiskey, my children. [Opening the flask and smelling it.] U—u—u—m! That's whiskey for you. The saloonkeeper from whom I hooked it will become a teetotaler from sheer despair.
[Tragedianrising heavily and slowly proceeding toward the flask.Villainstill skeptical and rising as if unwilling. The"Old Man"chuckling and rubbing his hands. The"Old Woman"getting up indifferently and moving apathetically toward the flask. TheHeroineandIngenuehold each other by the hand and take ballet steps in waltz time. All approach theComedianwith necks eagerly stretched out and smell the flask, which theComedianholds firmly in both hands.
[Tragedianrising heavily and slowly proceeding toward the flask.Villainstill skeptical and rising as if unwilling. The"Old Man"chuckling and rubbing his hands. The"Old Woman"getting up indifferently and moving apathetically toward the flask. TheHeroineandIngenuehold each other by the hand and take ballet steps in waltz time. All approach theComedianwith necks eagerly stretched out and smell the flask, which theComedianholds firmly in both hands.
TRAGEDIAN. Ho—ho—ho—Fine!
"Old Man." He—he—Small quantity, but excellent quality!
VILLAIN. Seems to be good whiskey.
HEROINE. [Dancing and singing.] My comedian, my comedian. His head is in the right place. But why didn't you nab a larger bottle?
COMEDIAN. My beloved one, I had to take in consideration both the quality of the whiskey and the size of my pocket.
"Old Woman." If only there's enough of it to go round.
INGENUE. Oh, I'm feeling sad again.
COMEDIAN. Cheer up, there will be enough for us all. Cheer up. Here, smell it again.
[They smell again and cheerfulness reappears. They join hands and dance and sing, forming a circle, theComedianapplauding.
[They smell again and cheerfulness reappears. They join hands and dance and sing, forming a circle, theComedianapplauding.
COMEDIAN. Good! If you are so cheered after a mere smell of it, what won't you feel like after a drink. Wait, I'll join you. [He hides the whiskey flask in his pocket.] I'll show you a new roundel which we will perform in our next presentation of Hamlet, to the great edification of our esteemed audience. [Kicking theVillain'sbundles out of the way.] The place is clear, now for dance and play. Join hands and form a circle, but you, Villain, stay on the outside of it. You are to try to get in and we dance and are not to let you in, without getting out of step. Understand? Now then!
[The circle is formed in the following order—Comedian,Heroine,Tragedian, "Old Woman," "Old Man,"Ingenue.
[The circle is formed in the following order—Comedian,Heroine,Tragedian, "Old Woman," "Old Man,"Ingenue.
Comedian.[Singing.]
[TheComediansings the refrain alone at first and the others repeat it together with him.
[TheComediansings the refrain alone at first and the others repeat it together with him.
COMEDIAN.
REFRAIN
[Same as before.]
[On the last word of the refrain they flop as if dumbfounded, and stand transfixed, with eyes directed on one spot inside of the ring. TheVillainleans over the arms of theComedianand theHeroine;gradually the circle draws closer till their heads almost touch. They attempt to free their handy but each holds on to the other and all seven whisper in great astonishment.
[On the last word of the refrain they flop as if dumbfounded, and stand transfixed, with eyes directed on one spot inside of the ring. TheVillainleans over the arms of theComedianand theHeroine;gradually the circle draws closer till their heads almost touch. They attempt to free their handy but each holds on to the other and all seven whisper in great astonishment.
ALL. A dollar!
[The circle opens up again, they look each at the other and shout in wonder.
[The circle opens up again, they look each at the other and shout in wonder.
ALL. A dollar!
[Once more they close in and the struggle to free their hands grows wilder; theVillaintries to climb over and then under the hands into the circle and stretches out his hand toward the dollar, but instinctively he is stopped by the couple he tries to pass between, even when he is not seen but only felt. Again all lean their heads over the dollar, quite lost in the contemplation of it, and whispering, enraptured.
[Once more they close in and the struggle to free their hands grows wilder; theVillaintries to climb over and then under the hands into the circle and stretches out his hand toward the dollar, but instinctively he is stopped by the couple he tries to pass between, even when he is not seen but only felt. Again all lean their heads over the dollar, quite lost in the contemplation of it, and whispering, enraptured.
ALL. A dollar!
[Separating once again they look at each other with exultation and at the same time try to free their hands, once more exclaiming in ecstasy.
[Separating once again they look at each other with exultation and at the same time try to free their hands, once more exclaiming in ecstasy.
ALL. A dollar!
[Then the struggle to get free grows wilder and wilder. The hand that is perchance freed is quickly grasped again by the one who held it.
[Then the struggle to get free grows wilder and wilder. The hand that is perchance freed is quickly grasped again by the one who held it.
INGENUE. [In pain.] Oh, my hands, my hands! You'll break them. Let go of my hands!
"Old Woman." If you don't let go of my hands I'll bite.
[Attempting to bite the hands of theTragedianand the"Old Man,"while they try to prevent it.
[Attempting to bite the hands of theTragedianand the"Old Man,"while they try to prevent it.
"Old Man." [Trying to free his hands from the hold of theHeroineand the"Old Woman."] Let go of me. [Pulling at both his hands.] These women's hands that—seem so frail, just look at them now.
HEROINE. [ToComedian.] But you let go my hands.
COMEDIAN. I think it's you who are holding fast to mine.
HEROINE. Why should I be holding you? If you pick up the dollar, what is yours is mine, you know.
COMEDIAN. Then let go of my hand and I'll pick it up.
HEROINE. No, I'd rather pick it up myself.
COMEDIAN. I expected something like that from you.
HEROINE. [Angrily.] Let go of my hands, that's all.
COMEDIAN. Ha-ha-ha—It's a huge joke. [In a tone of command.] Be quiet. [They become still.] We must contemplate the dollar with religious reverence. [Commotion.] Keep quiet, I say! A dollar is spread out before us. A real dollar in the midst of our circle, and everything within us draws us toward it, draws us on irresistibly. Be quiet! Remember you are before the Ruler, before the Almighty. On your knees before him and pray. On your knees.
[Sinks down on his knees and drags with him theHeroineandIngenue. "Old Man"dropping on his knees and dragging the"Old Woman"with him.
[Sinks down on his knees and drags with him theHeroineandIngenue. "Old Man"dropping on his knees and dragging the"Old Woman"with him.
"Old Man." He-he-he!
TRAGEDIAN. Ho-ho-ho, clown!
COMEDIAN. [ToTragedian.] You are not worthy of theserious mask you wear. You don't appreciate true Divine Majesty. On your knees, or you'll get no whiskey. [Tragediansinks heavily on his knees.] O holy dollar, O almighty ruler of the universe, before thee we kneel in the dust and send toward thee our most tearful and heartfelt prayers. Our hands are bound, but our hearts strive toward thee and our souls yearn for thee. O great king of kings, thou who bringest together those who are separated, and separatest those who are near, thou who——
[TheVillain,who is standing aside, takes a full jump, clears theIngenueand grasps the dollar. All let go of one another and fall upon him, shouting, screaming, pushing, and fighting. Finally theVillainmanages to free himself, holding the dollar in his right fist. The others follow him with clenched fists, glaring eyes, and foaming mouths, wildly shouting.
[TheVillain,who is standing aside, takes a full jump, clears theIngenueand grasps the dollar. All let go of one another and fall upon him, shouting, screaming, pushing, and fighting. Finally theVillainmanages to free himself, holding the dollar in his right fist. The others follow him with clenched fists, glaring eyes, and foaming mouths, wildly shouting.
ALL. The dollar! The dollar! The dollar! Return the dollar!
VILLAIN. [Retreating.] You can't take it away from me; it's mine. It was lying under my bundle.
ALL. Give up the dollar! Give up the dollar!
VILLAIN. [In great rage.] No, no. [A moment during which the opposing sides look at each other in hatred. Quietly but with malice.] Moreover, whom should I give it to? To you—you—you—you?
COMEDIAN. Ha-ha-ha-ha! He is right, the dollar is his. He has it, therefore it is his. Ha-ha-ha-ha, and I wanted to crawl on my knees toward the dollar and pick it up with my teeth. Ha-ha-ha-ha, but he got ahead of me. Ha-ha-ha-ha.
HEROINE. [Whispering in rage.] That's because you would not let go of me.
COMEDIAN. Ha-ha-ha-ha!
TRAGEDIAN. [Shaking his fist in the face of theVillain.] Heaven and hell, I feel like crushing you!
[He steps aside toward the trunk and sits down in his former pose.Ingenue,lying down on the grass, starts to cry.
[He steps aside toward the trunk and sits down in his former pose.Ingenue,lying down on the grass, starts to cry.
COMEDIAN. Ha-ha-ha! Now we will drink, and the first drink is the Villain's.
[His proposition is accepted in gloom; theIngenue,however, stops crying; the"Old Man"and the"Old Woman"have been standing by theVillainlooking at the dollar in his hand as if waiting for the proper moment to snatch it from, him. Finally the"Old Woman"makes a contemptuous gesture and both turn aside from theVillain.The latter, left in peace, smooths out the dollar, with a serious expression on his face. TheComedianhands him a small glass of whiskey.
[His proposition is accepted in gloom; theIngenue,however, stops crying; the"Old Man"and the"Old Woman"have been standing by theVillainlooking at the dollar in his hand as if waiting for the proper moment to snatch it from, him. Finally the"Old Woman"makes a contemptuous gesture and both turn aside from theVillain.The latter, left in peace, smooths out the dollar, with a serious expression on his face. TheComedianhands him a small glass of whiskey.
COMEDIAN. Drink, lucky one.
[TheVillain,shutting the dollar in his fist, takes the whiskey glass gravely and quickly drinks the contents, returning the glass. He then starts to smooth and caress the dollar again. TheComedian,still laughing, passes the whiskey glass from one to the other of the company, who drink sullenly. The whiskey fails to cheer them. After drinking, theIngenuebegins to sob again. TheHeroine,who is served last, throws the empty whiskey glass toward theComedian.
[TheVillain,shutting the dollar in his fist, takes the whiskey glass gravely and quickly drinks the contents, returning the glass. He then starts to smooth and caress the dollar again. TheComedian,still laughing, passes the whiskey glass from one to the other of the company, who drink sullenly. The whiskey fails to cheer them. After drinking, theIngenuebegins to sob again. TheHeroine,who is served last, throws the empty whiskey glass toward theComedian.
COMEDIAN. Good shot. Now I'll drink up all that's left in the bottle.
[He puts the flask to his lips and drinks. TheHeroinetries to knock it away from him, but he skilfully evades her. TheVillaincontinues to smooth and caress the dollar.
[He puts the flask to his lips and drinks. TheHeroinetries to knock it away from him, but he skilfully evades her. TheVillaincontinues to smooth and caress the dollar.
VILLAIN. Ha-ha-ha!...
[Singing and dancing.
Ho-ho-ho! O Holy Dollar! O Almighty Ruler of the World!... O King of Kings! Ha-ha-ha!... Don't youall think if I have the dollar and you have it not that I partake a bit of its majesty? That means that I am now a part of its majesty. That means that I am the Almighty Dollar's plenipotentiary, and therefore I am the Almighty Ruler himself. On your knees before me!... He-he-he!...
COMEDIAN. [After throwing away the empty flask, lies down on the grass.] Well roared, lion, but you forgot to hide your jack-ass's ears.
VILLAIN. It is one's consciousness of power. He-he-he. I know and you know that if I have the money I have the say. Remember, none of you has a cent to his name. The whiskey is gone.
[Picking up the flask and examining it.
COMEDIAN. I did my job well. Drank it to the last drop.
VILLAIN. Yes, to the last drop. This evening you shall have bread and sausage. Very small portions, too, for to-morrow is another day. [Ingenuesobbing more frequently.] Not till the day after to-morrow shall we reach town, and that doesn't mean that you get anything to eat there, either, but I—I—I—he-he-he. O Holy Dollar, Almighty Dollar! [Gravely.] He who does my bidding shall not be without food.
COMEDIAN. [With wide-open eyes.] What? Ha-ha-ha!
[Ingenuegets up and throws herself on theVillain'sbosom.
[Ingenuegets up and throws herself on theVillain'sbosom.
INGENUE. Oh, my dear beloved one.
VILLAIN. Ha-ha, my power already makes itself felt.
HEROINE. [Pushing theIngenueaway.] Let go of him, you. He sought my love for a long time and now he shall have it.
COMEDIAN. What? You!
HEROINE. [ToComedian.] I hate you, traitor. [To theVillain.] I have always loved—genius. You are now the wisest of the wise. I adore you.
VILLAIN. [HoldingIngenuein one arm.] Come into my other arm.
[Heroine,throwing herself into his arms, kissing and embracing him.
[Heroine,throwing herself into his arms, kissing and embracing him.
COMEDIAN. [Half rising on his knees.] Stop, I protest. [Throwing himself on the grass.] "O frailty, thy name is woman."
"Old Woman." [Approaching theVillainfrom behind and embracing him.] Find a little spot on your bosom for me. I play the "Old Woman," but you know I'm not really old.
VILLAIN. Now I have all of power and all of love.
COMEDIAN. Don't call it love. Call it servility.
VILLAIN. [Freeing himself from the women.] But now I have something more important to carry out. My vassals—I mean you all—I have decided we will not stay here over night. We will proceed further.
WOMEN. How so?
VILLAIN. We go forward to-night.
COMEDIAN. You have so decided?
VILLAIN. I have so decided, and that in itself should be enough for you; but due to an old habit I shall explain to you why I have so decided.
COMEDIAN. Keep your explanation to yourself and better not disturb my contemplation of the sunset.
VILLAIN. I'll put you down on the blacklist. It will go ill with you for your speeches against me. Now, then,withoutan explanation, we will go—and at once. [Nobody stirs.] Very well, then, I go alone.
WOMEN. No, no.
VILLAIN. What do you mean?
INGENUE. I go with you.
HEROINE. And I.
"Old Woman." And I.
VILLAIN. Your loyalty gratifies me very much.
"Old Man." [Who is sitting apathetically upon the trunk.] What the deuce is urging you to go?
VILLAIN. I wanted to explain to you, but now no more. I owe you no explanations. I have decided—I wish to go, and that is sufficient.
COMEDIAN. He plays his comedy wonderfully. Would you ever have suspected that there was so much wit in his cabbage head?
WOMEN. [Making love to theVillain.] Oh, you darling.
TRAGEDIAN. [Majestically.] I wouldn't give him even a single glance.
VILLAIN. Still another on the blacklist. I'll tell you this much—I have decided——
COMEDIAN. Ha-ha-ha! How long will you keep this up?
VILLAIN. We start at once, but if I am to pay for your food I will not carry any baggage. You shall divide my bundles among you and of course those who are on the blacklist will get the heaviest share. You heard me. Now move on. I'm going now. We will proceed to the nearest town, which is thirty miles away. Now, then, I am off.
COMEDIAN. Bon voyage.
VILLAIN. And with me fares His Majesty the Dollar and your meals for to-morrow.
WOMEN. We are coming, we are coming.
"Old Man." I'll go along.
TRAGEDIAN. [To theVillain.] You're a scoundrel and a mean fellow.
VILLAIN. I am no fellow of yours. I am master and bread-giver.
TRAGEDIAN. I'll crush you in a moment.
VILLAIN. What? You threaten me! Let's go.
[Turns to right. The women take their satchels and follow him.
[Turns to right. The women take their satchels and follow him.
"Old Man." [To theTragedian.] Get up and take the trunk. We will settle the score with him some other time. It is he who has the dollar now.
TRAGEDIAN. [Rising and shaking his fist.] I'll get him yet.
[He takes his side of the trunk.
VILLAIN. [ToTragedian.] First put one of my bundles on your back.
TRAGEDIAN. [In rage.] One of your bundles on my back?
VILLAIN. Oh, for all I care you can put it on your head, or between your teeth.
"Old Man." We will put the bundle on the trunk.
COMEDIAN. [Sitting up.] Look here, are you joking or are you in earnest?
VILLAIN. [Contemptuously.] I never joke.
COMEDIAN. Then you are in earnest?
VILLAIN. I'll make no explanations.
COMEDIAN. Do you really think that because you have the dollar——
VILLAIN. The holy dollar, the almighty dollar, the king of kings.
COMEDIAN. [Continuing.] That therefore you are the master——
VILLAIN. Bread-giver and provider.
COMEDIAN. And that we must——
VILLAIN. Do what I bid you to.
COMEDIAN. So you are in earnest?
VILLAIN. You must get up, take the baggage and follow me.
COMEDIAN. [Rising.] Then I declare a revolution.
VILLAIN. What? A revolution!
COMEDIAN. A bloody one, if need be.
TRAGEDIAN. [Dropping his end of the trunk and advancing with a bellicose attitude toward theVillain.] And I shall be the first to let your blood, you scoundrel.
VILLAIN. If that's the case I have nothing to say to you. Those who wish, come along.
COMEDIAN. [Getting in his way.] No, you shall not go until you give up the dollar.
VILLAIN. Ha-ha. It is to laugh!
COMEDIAN. The dollar, please, or——
VILLAIN. He-he-he!
Comedian.Then let there be blood. [Turns up his sleeves.
TRAGEDIAN. [Taking off his coat.] Ah! Blood, blood!
"Old Man." [Dropping his end of the trunk.] I'm not going to keep out of a fight.
WOMEN. [Dropping his satchels.] Nor we. Nor we.
VILLAIN. [Shouting.] To whom shall I give up the dollar? You—you—you—you?
COMEDIAN. This argument will not work any more. You are to give the dollar up to all of us. At the first opportunity we'll get change and divide it into equal parts.
WOMEN. Hurrah, hurrah! Divide it, divide it!
COMEDIAN. [ToVillain.] And I will even be so good as to give you a share.
TRAGEDIAN. I'd rather give him a sound thrashing.
COMEDIAN. It shall be as I say. Give up the dollar.
HEROINE. [Throwing herself on theComedian'sbreast.] My comedian! My comedian!
INGENUE. [To theVillain.] I'm sick of you. Give up the dollar.
COMEDIAN. [Pushing theHeroineaside.] You better step aside or else you may get the punch I aim at the master and bread-giver. [To theVillain.] Come up with the dollar!
TRAGEDIAN. Give up the dollar to him, do you hear?
ALL. The dollar, the dollar!
VILLAIN. I'll tear it to pieces.
COMEDIAN. Then we shall tear out what little hair you have left on your head. The dollar, quick!
[They surround theVillain;the women pull his hair; theTragediangrabs him by the collar and shakes him; the"Old Man"strikes him on his bald pate; theComedianstruggles with him and finally grasps the dollar.
[They surround theVillain;the women pull his hair; theTragediangrabs him by the collar and shakes him; the"Old Man"strikes him on his bald pate; theComedianstruggles with him and finally grasps the dollar.
COMEDIAN. [Holding up the dollar.] I have it!
[The women dance and sing.
[The women dance and sing.
VILLAIN. Bandits! Thieves!
TRAGEDIAN. Silence, or I'll shut your mouth.
[Goes back to the trunk and assumes his heroic pose.
[Goes back to the trunk and assumes his heroic pose.
COMEDIAN. [Putting the dollar into his pocket.] That's what I call a successful and a bloodless revolution, except for a little fright and heart palpitation on the part of the late master and bread-giver. Listen, some one is coming. Perhaps he'll be able to change the dollar and then we can divide it at once.
"Old Man." I am puzzled how we can change it into equal parts.
[Starts to calculate with theIngenueand the"Old Woman."
[Starts to calculate with theIngenueand the"Old Woman."
HEROINE. [Tenderly attentive to theComedian.] You are angry with me, but I was only playing with him so as to wheedle the dollar out of him.
COMEDIAN. And now you want to trick me out of my share of it.
"Old Man." It is impossible to divide it into equal parts. It is absolutely impossible. If it were ninety-eight cents or one hundred and five cents or——
[TheStrangerenters from the right, perceives the company, greets it, and continues his way to left.Comedianstops him.
[TheStrangerenters from the right, perceives the company, greets it, and continues his way to left.Comedianstops him.
COMEDIAN. I beg your pardon, sir; perhaps you have change of a dollar in dimes, nickels, and pennies.
[Showing the dollar. The"Old Man"and women step forward.
[Showing the dollar. The"Old Man"and women step forward.
STRANGER. [Getting slightly nervous, starts somewhat, makes a quick movement for his pistol-pocket, looks at theComedianand the others and says slowly.] Change of a dollar? [Moving from the circle to left.] I believe I have.
WOMEN. Hurrah!
STRANGER. [Turns so that no one is behind him and pulls his revolver.] Hands up!
COMEDIAN. [In a gentle tone of voice.] My dear sir, we are altogether peaceful folk.
STRANGER. [Takes the dollar from theComedian'shand andwalks backwards to left with the pistol pointed at the group.] Good-night, everybody.
[He disappears, the actors remain dumb with fear, with their hands up, mouths wide open, and staring into space.
[He disappears, the actors remain dumb with fear, with their hands up, mouths wide open, and staring into space.
COMEDIAN. [Finally breaks out into thunderous laughter.] Ha-ha-ha-ha-ha-ha!
CURTAIN
The Diabolical Circleis reprinted by special permission of Professor Franz Rickaby, in whose course in dramatic composition (English 36) in the University of North Dakota this play was written. For permission to perform, address Professor Franz Rickaby, University of North Dakota, University, North Dakota.
The Diabolical Circleis reprinted by special permission of Professor Franz Rickaby, in whose course in dramatic composition (English 36) in the University of North Dakota this play was written. For permission to perform, address Professor Franz Rickaby, University of North Dakota, University, North Dakota.
BEULAH BORNSTEAD
Beulah Bornstead, one of the promising young playwrights of the Northwest, was born in Grand Forks, North Dakota, May 5, 1896. She has had her academic training at the University of North Dakota, from which she received her B.A. in 1921. At present Miss Bornstead is principal of the Cavalier High School, North Dakota. Before attempting drama she tried her hand at journalism and at short-story writing.
Miss Bornstead was introduced into playwriting by Professor Franz Rickaby, in whose course in dramatic composition at the University of North DakotaThe Diabolical Circlewas written. In speaking of this play Miss Bornstead writes: "The Diabolical Circleis the first play I have ever written. I never enjoyed doing anything so much in my life. The characters were so real to me that if I had bumped into one going round the corner I should not have been surprised in the least.BettyandCharlesandAdonijahand evenCotton Matherhimself worked that play out. All the humble author did was to set it down on paper."The Diabolical Circlewas produced May 5, 1921, by the Dakota Playmakers in their Little Theatre at the University of North Dakota.
The Diabolical Circleis one of the best contemporary plays dealing with American historical material. Its characterization is one of its noteworthy elements.
SCENE:The living-room in the Mather home in Boston.
TIME:About 1700, an evening in early autumn.
The stage represents the living-room of the Mather home. A large colonial fireplace is seen down-stage left, within which stand huge brass andirons. To one side hangs the bellows, with the tongs near by, while above, underneath the mantelpiece, is suspended an old flint-lock rifle. On both ends of the mantel are brass candlesticks, and hanging directly above is an old-fashioned portrait of Betty's mother. There are two doors, one leading into the hall at centre left, the other, communicating with the rest of the house, up-stage right. A straight high-backed settee is down-stage right, while in the centre back towers an old grandfather's clock.[K]To the left of the clock is the window, cross-barred and draped with flowered chintz. An old-fashioned table occupies the corner between the window and the hall door. Here and there are various straight-backed chairs of Dutch origin. Rag rugs cover the floor.
As the curtain risesCotton Matheris seated in a large armchair by the fire, withBettyon a stool at his feet, with her knitting.
Cotton,his hair already touched with the whitening frost of many a severe New England winter, is grave and sedate. Very much exercised with the perils of this life, and serenely contemplative of the life to come, he takes himself and the world about him very seriously.
Not so withMistress Betty.Outwardly demure, yet inwardlyrebellious against the straitened conventions of the times, she dimples over with roguish merriment upon the slightest provocation.
As we first see themCottonis givingBettysome timely advice.
COTTON. But you must understand that marriage, my daughter, is a most reverend and serious matter which should be approached in a manner fittingly considerate of its grave responsibility.
BETTY. [Thoughtfully.] Truly reverend and most serious, father [looking up roguishly], but I like not so much of the grave about it.
COTTON. [Continuing.] I fear thou lookest upon the matter too lightly. It is not seemly to treat such a momentous occasion thus flippantly.
BETTY. [Protesting.] Nay, father, why consider it at all? Marriage is yet a great way off. Mayhap I shall never leave thee.
COTTON. Thou little thinkest that I may be suddenly called on to leavethee. The Good Word cautions us to boast not ourselves of the morrow, for we know not what a day may bring forth.
BETTY. [Dropping her knitting.] Father, thou art not feeling well. Perhaps——
COTTON. Nay, child, be not alarmed. 'Tis but a most necessary lesson to be learned and laid up in the heart. I will not always be with thee and I would like to be comfortably assured of thy future welfare before I go.
BETTY. [Picking her knitting up.] Be comfortably assured, then, I prithee; I have no fears.
COTTON. [Bringing his arm down forcibly on the arm of the chair.] Aye! There it is. Thou hast no fears. Would that thou had'st some! [Looks up at the portrait.] Had thy prudent and virtuous mother only lived to point the way, I might bespared this anxiety; but, beset by diverse difficulties in establishing the kingdom of God in this country, and sorely harassed by many hardships and by evil men, I fear me I have not propounded to thee much that I ought.
BETTY. In what then is mine education lacking? Have I not all that is fitting and proper for a maiden to know?
COTTON. [Perplexed.] I know not. I have done my best, but thou hast not the proper attitude of mind befitting a maiden about to enter the married estate.
BETTY. [Protesting.] Nay, but I am not about to enter the married estate.
COTTON. It is time.
BETTY. [Mockingly pleading.] Entreat me not to leave thee, father, nor forsake thee; for whither thou goest I will go, and whither——
COTTON. [Interrupting sternly.] Betty! It ill befitteth a daughter of mine to quote the Scriptures with such seeming irreverence.—I would not be parted from thee, yet I would that thou wert promised to some godly and upright soul that would guide thee yet more surely in the paths of righteousness. There be many such.
BETTY. Yea, too many.
COTTON. What meanest thou?
BETTY. One were one too many when I would have none.
COTTON. [Shaking his head.] Ah. Betty, Betty! When wilt thou be serious? There is a goodly youth among the friends surrounding thee whom I have often marked, both on account of his godly demeanor and simple wisdom.
BETTY. [Nodding.] Yea, simple.
COTTON. I speak of Adonijah Wigglesworth, a most estimable young gentleman, an acquaintance whom thou would'st do well to cultivate.
BETTY. Yea, cultivate.
COTTON. What thinkest thou?
BETTY. A sod too dense for any ploughshare. My wit would break in the turning.
COTTON. His is a strong nature, born to drive and not be driven. There is not such another, nay, not in the whole of Boston.
BETTY. Nay. I have lately heard there be many such!
COTTON. [Testily.] Mayhap thou wouldst name a few.
BETTY. [Musingly, holds up her left hand with fingers outspread.] Aye, that I can. [Checks off one on the little finger.] There be Marcus Ainslee——
COTTON. A goodly youth that hath an eye for books.
BETTY. One eye, sayest thou? Nay, four; and since I am neither morocco bound nor edged with gilt, let us consign him to the shelf wherein he findeth fullest compensation.
COTTON. How now? A man of action, then, should appeal to thy brash tastes. What sayest thou to Jeremiah Wadsworth?
BETTY. Too brash and rash for me [checking off that candidate on the next finger], and I'll have none of him. There's Percy Wayne.
COTTON. Of the bluest blood in Boston.
BETTY. Yet that be not everything [checks off another finger]—and Jonas Appleby——
COTTON. He hath an eye to worldly goods——
BETTY. [Quickly.] Especially the larder. To marry him would be an everlasting round between the tankard and the kettle. [Checks him off.] Nay, let me look yet farther—James Endicott. [Checking.]
COTTON. Aye, there might be a lad for thee; birth, breeding, a well-favored countenance, and most agreeable.
BETTY. Yea, most agreeable—unto himself. 'Twere a pity to disturb such unanimity. Therefore, let us pass on. Take Charles Manning, an you please——
COTTON. It pleaseth me not! I know the ilk; his father beforehim a devoted servant of the devil and King Charles. With others of his kind he hath brought dissension among the young men of Harvard, many of whom are dedicated to the service of the Lord, with his wicked apparel and ungodly fashion of wearing long hair after the manner of Russians and barbarous Indians. Many there be with him brought up in such pride as doth in no ways become the service of the Lord. The devil himself hath laid hold on our young men, so that they do evaporate senseless, useless, noisy impertinency wherever they may be; and now it has e'en got out in the pulpits of the land, to the great grief and fear of many godly hearts.
[He starts to his feet and paces the floor.
BETTY. [Standing upright.] But Charles——
COTTON. [Interrupting.] Mention not that scapegrace in my hearing.
BETTY. [Still persisting.] But, father, truly thou knowest not——
COTTON. [Almost savagely, whileBettyretreats to a safe distance.] Name him not. I will not have it. Compared with Adonijah he is a reed shaken in the winds, whereas Adonijah resembleth a tree planted by the river of waters.
BETTY. [Who has been looking out of the window.] Converse of the devil and thou wilt behold his horns. Even now he approacheth the knocker.